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我们既要看到当前我国艺术理论体系的多元化现实,又要正视以计算机为龙头的信息革命对相关研究的共同影响,包括研究手段、研究方法的更新等。不仅如此,信息革命开拓了值得世界各国学者共同关注的新领域,即数码艺术理论体系的建构。数码艺术诞生于全球化的历史进程中,以统一数字编码作为共同基础,以全球信息基础设施(GII)作为共同平台,以全球远程交互作为基本运营机制。钱钟书等前辈学者曾经致力于寻找中西共同的诗心文心,所谓“东海西海,心理攸同;南学北学,道术未裂”[1]。这一目标
We must not only see the diversified reality of the current theoretical system of art in our country, but also face up to the common impact of the information revolution led by the computer on relevant research, including research methods and the updating of research methods. Not only that, the information revolution has opened up a new field worthy of the common concern of scholars from all over the world, namely, the construction of the theoretical system of digital art. Digital art was born in the historical process of globalization. It uses a unified digital code as a common ground, a global information infrastructure (GII) as a common platform, and a global long-distance interaction as its basic operating mechanism. Qian Zhongshu and other senior scholars once devoted themselves to finding the common poetic heart of Chinese and Western culture. The so-called “East China Sea and the West Sea, psychologically relevant; South learning and North learning, Taoism is not cracked” [1]. This goal